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Ralph
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4mo
added comment inAssignment - Perspective for Drawing Anything
Asked for help
So, i feel like i know some basics of perspective up to three point already and I also know some construction tricks to understand where to place things in a picture. However, I often struggle with certain applications of these basics. Mostly when accuracy or consistency is required. I can draw a box and make it look realistic, in "3D" space, but drawing the exact same box rotated correctly on multiple axis becomes a challenge. I can only rely on things like "it feels like it should converge this much and this edge is now closer to me so it should be a bit taller, right?" If I try to implement this intuition based approach however, i have one cube in the middle of the page and then various rotated rectangular shapes with varying edges and even sizes as a result.
Being abel to do that with organic shapes (e.g. humans in a pose) would be the next step of that.
The same problems apply to drawing extreme foreshortening. I have an idea how things should converge and look 3D when I draw them. I also think I understand how a basic 5 point grid is supposed to work (not completely), but what I do not get is how I can get the relation of everything in the same scene to look consistent. If the hand of an outstretched arm is close to the camera, how long should the arm be and and how tall should the body be in relation to that?
So, "drawing the same thing from different (extreme) angles and having it look consistent"? would be a goal for me. Or maybe just "understanding how the size of the same thing foreshortens differently in various rotations"? (Mainly for drawing comics).
I tried to find some images online that show what i mean. If I can get past these things, by the end of this class, that would be great. And sure, the classic spiral stairs and other tricky problems are interesting as well and maybe all of that is related, but to me at least, that is not the focus.
Luke
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4mo
Asked for help
I studied Fengwei Cui and Ale Halexxx. I know the hatching leans more towards shading, but I've wanted to learn hatching like this for a long time and finally felt confident enough to tackle it. There were lots of lessons learned and it makes me excited to go back to figure drawing once I'm done this course
Dude, why is this marked as "Asked for help"? I had to go back and forth multiple times to even see which ones were the reference and which one where yours.
@rinivar
•
5mo
Hello, could you please give me some advice how to improve them? I think the main problem is proportions + wrong perspective. I sometimes find it hard to visualize the box behind all the distracting volumes of the muscles and skin. I try to focus on the visible landmarks, make a line where I see them, but then I struggle with connecting it to the other side (which is sometimes hidden behind those other volumes.
numbers by the drawings are refference to the poses from the Gesture Reference Sampler nude.
Putting into words what is off about some of the boxes would probably take quite a big wall of text since it would require explaining perspective again. I do not have the time to do a drawover, so I will try to make it brief. Numer 9-0 and maybe 3.0 look pretty good to me, but almost all other boxes ignore some rules of perspective. This lack of understanding how perspective works and how one of the boxes would have to be drawn in relation to the other, makes it feel like they are not connected properly in many cases.
In general i would argue that you have some trouble with making the lines of your boxes converge "correctly" and understanding "3d" space (or rather the illusion of 3d space on a 2d piece of paper). Practicing this with distorted and twisted boxes is making things needlessly more difficult. In other words: You are focusing on landmarks and muscles before having understood perspective enough. Given that you still struggle with perspective you make focussing on landmakrs and anatomy even more difficult. Most of the boxes are also hardly rotated (mostly front facing with some rotation but no bending of 90° or anything) This further makes me feel like you need to work on understanding boxes in perspective more before tackling body shapes.
Given that understanding boxes in perspective intuitively is pretty essential, I would recommend to try the 250 Box challenge over on https://drawabox.com/lesson/250boxes . It is pretty boring but it helped me doing boxes intuitively a lot. (read and follow the instructions though, especially the part about checking the convergence of your boxes after every page. If you first draw all the boxes and then check them, you learn a lot less than if you draw five boxes on one piece of paper, check and then implement what you learned on the next page)
some words on particular boxes:
1.0 - the lower edge of the top box aligns with the upper back edge of the lower box. Therefor it looks like it is further back. The boxes would have to overlap to be correct. You have improved that in 1.1.
2.0 - The left and right side of the lower box are visible simultaneously, which would only be the case if the box got wider towards the back. In other words, the edges do not converge properly.
12.0 - The edges of the bottom box moving "away" from the viewer are parallel. No real convergence to one point.
15.9 - The top box has all of the edges going "away" from the viewer are also parallel. No real convergence, just some distortion.
Whelp… turned into a wall of text anyways. I hope it wasn't too harsh and you can get something out of it. Keep it up.
JK
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5mo
Hello! So I’m back to the beginning of the course from the shapes part to figure out my mistakes with simplifying from observation. I was trying to get the idea of what exactly should be drawn or “how” it should be, that in the moment with the last (third) pear I’ve realised I went to a different direction -__- should it be something closer to the first pear in this project? (In terms of planes)
I believe the idea behind this exercise was simplification. Simplify shapes and shadow. By only using straight lines and four shades of grey + white, you are supposed to leave out a lot of unnecessary detail and focus on shape design. (also it was meant to be a simple shape so beginners could have a little success moment at the beginning of the course i guess)
So yeah, more like the first and second pear. The third one is blending everything already again. Stan explains it pretty well in his own demo of the pear though, so maybe take a look at that as well?
Ralph
•
5mo
Asked for help
I'll hopefully get to the other ones soon. Been drawing on the train, so long straight lines tend to be wonky from the shaking. Apart from that i cannot help but focus on the sloppy proportions. The anvil is completely off, the wheel of the wheelbarrow is wrong, the hammer isn't really symmetrical and so on… Guess I should be glad that I know where to improve, but I'd also like to be happy with a drawing again once in a while…
